THU  DEVELOPMENT  OF  LEFT  HAND 
1 PIANOFORTE  TECHNIQUE 

BY 


DORIS  E DN A H ESS 


TH  US  I S 

FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 

IX 


MUSIC 


SCHOOL  OF  MUSIC 

UNIVERSITY  OF  ILLINOIS 


1921 


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■I  - ' 


\3U 

WVfe 

UNIVERSITY  OF  ILLINOIS 

June  .13,. 19 2.. X... 

THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 

DORIS.. EDNA  HESS 

ENTITLED  ....THE.  DEVELOPMENT... OF... LEFT  HAND  PIANOFORTE. . TECHNIQUE 


IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF... BACHELOR  OF  . MUSIC  IN  MUSIC  


HEAD  OF  DEPARTMENT  OF.... MUSIC 


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TABLE  OF  CONTENTS 

Page 

I.  Influence  of  Philip  Emmanuel  Bach 1 

II.  Beethoven 3,  4,  & 5 

III.  Brohms 9 

IV.  Chopin 7,  8. 

V.  Debussy 15,  16. 

VI.  Grieg 12 

VII.  Haydn 2 

VIII.  Liszt 9 

IX. .  Mac.  Do  well 16,  17. 

X.  Mozart 2,  3. 

XI.  Rachmaninoff 12. 

XII.  Rubenstein 10. 

XIII.  Saint  Saens 16. 

XIV.  Schubert 5,  6 & 7 

XV.  Cyril  Scott 10 

XVI.  Sinding 12,  13 

XVII.  Jean  Sibelius 13 

XVIII.  Strauss 14,  15 

XIX.  Tschaikcwsky 10,  11 

XX.  Eroica  Theme 4 

XXI Cl  assic  School 1 to  5 

XXII.  Romantic  School 5 to  10 

XXIII.  Modern  School 10  to  19 


BIBLIOGRAPHY 


Bie  Oscar 

Development  of  Pianoforte 

Krehhiel 

Of  the  Pianoforte  & its  Music 

Chri stiani 

The  Pianoforte  & Pianoforte  Playing 

Beethoven 

/Variations  with  Fugne  on  Theme  from 
^ ‘'Eroica11  Symphony 

(sonato,  op.  7 

j Sonato,  op.  2,  Vol.  2 

(Sonato  Appasionato,  op.  57 

Chopin 

(Valse  Brilliante  in  A-minor,  op  34, Ho.  2 

( Etude,  op.  25,  Ho. 7 
( 

^ Balla.de,  op.  23 
(Etude,  op.  10,  Ho. 5 

Dehussy 

- (Reverie,  Manuka  in  E#  minor 

/ 

Brahms 

^ Waltzes 

( Hungarian  Dance 

Grey 

Wedding  Day  at  Troldhanzen 

Haydn 

Sonato  op.  26,  Vol.  3 
Sonato  op.  17,  Vol.  2 

Liszt 

Hungarian  Rhapsody,  Ho. 12 

MacDowell 

Woodland  Sketches 

At  An  Old  Trysting  Place 

Polonaise 

Scotch  Poem 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/developmentoflefOOhess 


At  Sunset 


Mozart 

- 

Pantasie  in  C -mi nor 

Rachmaninoff 

** 

Prelude  in  C#  minor 
Serenade 

Rubenstein 

- 

Toreador  et  Andalouse 

Saint-Saens 

- 

Priere,  op.  7,  Ho. 3 

Schubert 

Impromptu  in  C-minor 
Impromptu  in  P -minor 
Moment  Musical,  Ho. 1 in  C 
Pantasie  in  C 

Sinding 

- 

Rustle  of  Spring 

Strauss 

— 

Elektra 

Also  sprach  Zarathustra,  op.  : 

Tschaikowsky 

Romance,  op.  5 

Humoresque,  op. 10,  Ho. 2 

op.  19,  Vol.  XI  alia,  Schumann 

, 


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DEVELOPMENT  OE  LEFT  HAND  PIANOFORTE  TECHNIQUE 


Philip  Emmanuel  Bach,  son  of  John  Sebastian  Bach 
was  the  first  to  use  the  monophonic  style  of  writing.  The  use 
of  all  five  fingers  was  the  result  of  the  development  of  mono- 
phonic playing.  In  using  all  five  fingers,  the  hand  could  in- 
dulge in  much  greater  freedom  of  execution,  not  being  hampered 
by  the  necessity  of  playing  two  or  more  voices.  He  developed 
the  sonata  form  in  the  direction  of  clearness  and  symmetry: 
he  adopted  the  principle  of  contrast  in  key  as  well  as  in  char- 
acter, in  the  three  movements  of  which  his  sonatas  were  com- 
posed: in  short,  he  established  the  plan  of  the  sonata,  de- 

termined the  direction  in  which  it  was  to  develop,  and  by  his 
influence  and  example,  gave  the  most  powerful  stimulus  to  that 
development.  The  most  important  service  rendered  by  Emmanuel 
Bach,  Haydn,  and  Mozart  was  their  progressive  recognition  of 
the  "Lyric"  element. 

The  influence  of  fundamental  basses  is  only  slight- 
ly inferior  to  that  of  the  chief  melody,  and  is  equal  if  not 
superior,  to  that  of  secondary  melody  or  counterpoints.  On  ac- 
count of  their  inferior  penetrating  power,  compared  to  treble 
notes,  fundamental  basses  can  bear  a slight  excess  of  power, 
without  fear  of  overshadowing  melodic  notes  in  a higher  regist- 
er. The  additional  emphasis  given  to  fundamental  basses  would 
also  be  justified  on  account  of  grammatical  and  quantitative 
principles. 

Fundamental  basses  must,  naturally,  either  remain 
stationary,  or  move.  The  former  we  call  “organ  points,"  the 


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latter  "progressive  basses."  Progressive  basses  generally 
constitute  melodic  phrases,  and  these  should  receive  the  promi- 
nence which  is  due  to  melodies. 

Haydn  made  very  little  progress  in  developing  left 
hand  technique.  He  accepted  Bach’s  sonata  - form,  enlarging 
its  movements.  The  sonatas  are  interesting  because  of  the 
place  they  occupy  between  the  Bach  school  on  the  one  hand  and 
the  developed  classic  school  on  theother.  In  his  Sonata,  op. 26, 
Vol.  3,  he  merely  breaks  up  the  tonic  and  dominant  chords  into 
arpeggios  in  the  left  hand,  as  illustrated  in  the  example  1. 

In  Sona.ta  op.  17,  Vol.  2,  the  left  hand  carries  the  melody  in 
octaves  for  twelve  measures,  v/hile  the  right  hand  has  the  em- 
bellishments or  accompaniment. 

Example  1: 

op. 26,  Vol. 3 op.  17,  Vol. 2 


The  new  "pianoforte,"  which  Y/as  becoming  popular 
because  of  its  fuller  and  more  subtly  expressive  tones,  was 
precisely  adapted  to  Mozart’s  aim,  and  he  was  the  first  to  launch 
the  pianoforte  on  its  decisive  career.  Hew  feats  were  demanded 


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of  him:  he  had  to  work  on  bold  lines;  he  had  to  bring  into  use 

the  special  features  of  the  instrument  he  adopted:  the  rip- 

ling  scale-passage,  the  variety  of  tone,  the  forte,  the  pianis- 
simo. The  endless  melody  and  free  intelligence  of  his  music 
took  all  the  sharpness  from  the  sonata  form  and  brought  it  into 
more  typical  shape.  Mozart  developed  the  left  hand  in  the 
sonatas  to  a very  small  extent.  In  his  "Fantasie  in  C-Minor" 
we  have  the  left  hand  carrying  the  melody,  and  playing  arpeggios 
a flexible  hand  is  necessary  to  play  this  composition,  as  there 
is  the  melody  to  be  brought  out  in  the  left  hand. 

"Fantasie  in  C-Minor" - 


Beethoven  (1770-1827)  marks  the  beginning  of  a new 
school.  He  stood  between  the  apparently  warring  elements  of 
classicism  and  romanticism  and  bravely  battled  for  both,  con- 
serving the  old,  but  regenerating  it  and  adapting  it  to  the  new 
regime.  Beethoven  had  remarkable  skill,  not  only  in  develop- 
ing large  and  beautiful  ideas  out  of  apparently  insignificant, 
but  really  pregnant  "motivi" ; but  also  in  writing  beautiful 
basses.  The  theme  of  the  Variations  which  maize  up  the  finale 
of  the  "Eroica"  Symphony  is  also  the  theme  for  a set  of  Varia- 
tions for  the  pianoforte.  In  the  pianoforte  variations  a,s  in 
the  symphonic,  Beethoven  begins  with  the  bass  and  introduces  the 


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melody  as  a counterpoint  upon  it;  thereafter  it  remains  the 
theme  with  the  bass  as  an  "ostinato " • "A  music ian  is  known  by 
his  basses,”  might  well  be  set  down  as  an  axiom.  Rubenstein 
says,  "In  the  Sonata.,  op.  7,  the  bass  of  the  Largo  alone  is,  in 
my  opinion,  worth  twice  as  much  as  a whole  sonata."  In  the 
sixth  variation,  the  adagio  mol to.  the  melody  is  carried  in  the 
left  hand  for  eight  measures,  then  is  transferred  to  the  right 
hand  with  very  complex  variations  in  the  left,  as  illustrated. 
Six  Variations  - op.  34. 

Var.  VI 


Beethoven’s  left  hand  technique  is  in  his  fifteen  "Variations 
with  Eugue  on  the  theme  from  the  ’Eroica"  Symphony."  To  begin 
with,  he  introduces  the  theme  in  the  bass;  next  he  has  a duet 
with  the  bass  carrying  the  melody.  The  fifteenth  variation  is 
more  complex,  more  developed  in  the  left  hand,  than  the  others. 
There  are  many  difficult  scale  passages,  passages  in  thirds, 
trills,  arpeggios,  and  broken-chords  in  the  left  hand.  Here 
Beethoven  has  some  exacting  left  hand  technique,  as  shown  by 
measures  27,  28,  29,  30.  The  "Eroica"  theme  has  more  technique 
in  the  left  hand  than  any  of  the  other  variations.  In  all  his 
Variations,  Beethoven  makes  the  left  hand  freer,  more  develop- 
ed, than  any  of  his  contemporaries.  In  his  Sonatas,  especially 


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the  "Largo 11  of  op, 7,  he  has  a wonderful  bass.  In  many  places 
it  plays  the  melody  parallel  to  the  right  hand,  or  it  has  the 
melody  while  the  right  hand  has  a counterpoint,  Beethoven’s 
octaves  are,  full  of  grandeur  and  so  appropriate  to  the  theme, 
coming  in  at  just  the  right  time.  We  have  the  melody  in  the 
bass  brought  out  beautifully,  beginning  with  measure  74,  as 
illustrated: 


eism  is  the  quality  which  puts  content,  or  matter,  over  manner. 

When  melodic  phrases  occur  entirely  in  the  extreme 
lower  voice,  they  require,  even  more  stress  than  secondary 
melodies.  In  fact  if  the  stress  were  as  great  as  that  given  to 
the  chief  melody,  the  power  would  not  be  too  excessive,  for 
exampl e : 

Sonata  op.  2,  vol.  2. 


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The  "bass  requires  the  greatest  dynamic  power  when  the  progres- 
sion of  the  basses  represents  an  independent  motive;  as,  for 
example: 


Beginning  with  Schubert,  we  find  these  principle 


elements  introduced  into  music:  (l)  Freedom  in  the  treatment  of 
structural  forms  i.e.  freedom  which  contracts  or  expands  or 
otherwise  modifies  forms  to  adapt  them  to  their  spiritual  con- 
tent. (2)  Invention  of  new  forms.  (3)  Extension  of  the  har- 
monic scheme.  (4)  Freedom  in  modulation.  (5)  Increase  in 
number  and  variety  of  rhythms  from  which  element  comes  life 
in  the  sense  of  movement  as  illustrated  in  the  peculiarly  pro- 
pulsive effect  of  syncopation.  (6)  Adoption  of  poetical  con- 
ceits as  underlying  and  determining  factors  of  the  composition. 

In  his  "Impromptu  in  C-Minor"  op.  90,  he  intro- 


In  his  "Impromptu  in  F-Minor " op. 142,  he  uses  parallel  passages 
and  chromatics  in  left  hand,  he  takes  more  liberties  with  rhythm; 


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his  composition  are  more  technical,  more  developed  in  the  left 
hand,  also  more  “lyric11  in  content. 


His  “Moment  Musical"  Ho .1  in  C is  interesting  in  that  the  melody 
is  carried  in  the  bass  beginning  with  measure  17.  Beginning  with 
measure  14  he  uses  parallel  passages  with  complex  rhythm. 


tentious  left  hand  technique.  There  are  chromatic,  scale  pas- 
sages of  some  length,  double  passages  which  call  for  very  clear, 
yet  heavy  touch,  much  modulation,  octave  bravuras,  broken  chords, 
trills  in  the  left  hand,  broken  octaves.  This  gives  the  left 
hand  a fine  chance  to  display  its  technique.  Schubert  is  one  of 
the  first  to  pay  so  much  attention  to  the  left  hand.  It  is  much 
more  pretentious  than  Mozart’s  "Pantasie",  shows  more  knowledge 
of  the  left  hand,  more  forethought  in  composing  the  left  hand 
melody.  In  the  Allegro  of  the  Pantasie  the  left  hand  carries  the 
melody  for  nine  measures  in  octaves,  the  right  hand  starts  the 
melody  a fifth  higher  and  plays  it  in  octaves  while  the  left 
hand  carries  a counter  point  or  melody.  The  left  hand  of  his 


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fantasie  rondos  remind  one  very  much  of  the  exercises  of  Czerny 
for  left  hand,  "because  of  his  (Schubert’s)  use  of  double  passages 
scale  passage,  broken  chords,  octave  bravuras,  etc. 

Chopin  ( 1810-1849 ) stands  alone  in  musical  history.  Like 
many  virtuosi  composers  who  preceded  him,  Chopin  wrote  almost 
exclusively  for  pianoforte.  His  waltzes  are  salon  music  of  an 
aristociatic  kind.  The  left  hand  is  usually  hard  to  play  because 
the  melody  usually  depends  upon  the  tones  or  chords  of  the  left 
hand.  Each  tone  must  be  accurate  or  it  unbalances  the  melody. 

His  Valse  Brilliante  in  A-minor,  op.  34,  Ho. 2,  begins  with  the 

melody  in  the  bass,  for  16  measures. 

Measure  1 Third  Movement 

measure  i Measure  13 


Chopin’s  music  depends  largely  upon  his  basses. 


In  his  waltzes. 


the  player  must  get  the  bass  notes  correctly  in  order  to  get  the 
harmony  of  the  composition.  Unlike  the  earlier  waltzes,  Chopin's 
have  much  development  of  left  hand  in  modulation;  harmonic  struc- 
ture is  also  more  complex.  His  basses  have  a space  by  themselves, 
and  are  not  merely  for  accompaniment,  but  are  richer  in  harmony; 
also  they  require  a very  accurate  touch. 

Chopin  wrote  solo  melodies  which  are  suggestive  of  emo- 
tion, and  almost  self  expressive,  so  to  speak;  but  they  can  only 
be  inadequately  rendered  on  the  pianoforte  although  the  inter- 
pretation be  masterly;  for  example: 


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Franz  Liszt  (1811  - 1886)  is  famous  for  his  ‘‘Hungar- 
ian Rhapsodies”,  built  upon  Hungarian  folk  dances.  He  marks  the 
beginning  of  complex  left  hand  technique,  his  “Hungarian  Rhap- 
sody Ho. 3.2“  the  melody  starts  in  the  bass,  next  is  a cadenza  in 
the  left  hand,  also  some  chronatic  passages,  and  trills,  arpeg- 
gios and  melody  in  octaves  in  the  left  hand,  while  the  right  hand 
plays  a tremolando  and  numerable  scale  passages.  His  “Etude  de- 
Concert”  is  just  as  elaborate  in  right  hand  as  the  Rhapsody  is 
in  the  left  hand,  the  left  hand  is  very  simple  except  for  the 
very  elaborate  ending. 


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Johannes  Brahms  (1853-1897)  stands  asf the  foremost 
composer  of  absolute  music  in  the  nineteenth  century.  One  of  our 
modern  critics  in  comparing  Brahms  with  Tschaikowsky  said: 
"Tschaikowsky ’ s music  sounds  better  than  it  is,  while  Brahm’s 


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music  is  better  than  it  sounds."  His  Waltzes  are  very  simple  in 
the  accompaniment  in  the  left  hand.  Brahms  makes  use  of  the 
tremulo  in  the  left  hand  in  his  Hungarian  Dance,  also  has  a va- 
riety of  rhythm  in  the  left  hand. 

Next,  we  come  to  the  Modern  School  of  Music,  with 
the  exception  of  the  greatest  modern  german  master,  Johannes 
Brahms,  a.nd  his  followers,  all  modern  instrumental  music  has  been 
^bunded  on  two  principles  of  the  Romantic  school,  namely,  pro- 
gram music  and  nationalism.  Beginning  with  the  modern  composers, 
we  find  they  have  taken  liberties  with  tempo,  rhythm,  modulations 
and  technique.  The  composer  seeks  to  express  feelings  or  moods, 
regardless  of  laws  of  harmony  - Strauss,  for  instance,  makes  his 


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music  horrible  if  what  he  seeks  to  express  is  horrible.  Cyril 
Scott  doesn't  complete  his  thoughts  in  music,  they  are  just  jot- 
ted down,  as  one  jots  down  memorandum  notes.  The  modern  compo- 
sers are  a legimate  grov/th  out  of  the  art  technique  of  the  ac- 
knowledged great  matters.  In  the  first  Russian  Schools  of  Music 
we  have  Anton  Rubinstein  (1830-1894)  In  his  "Romance,  op.  44, 
No.l"  he  uses  triplets  in  the  bass  against  eighth  notes  in  the 
right  hand,  also  much  modulation.  $n  his  "Toreador  et  Andalouse" 
op.  103,  No. 2,  he  starts  in  the  left  hand,  as  so  many  of  the 
modern  writers  do.  His  rhythm  is  very  complex  in  this  composi- 
tion. All  the  modern  composers  have  developed  the  left  hand  tech- 
nique more  than  their  predecessors,  they  seem  to  be  surer  of 
themselves,  take  more  liberties,  giving  the  left  hand  as  much  to 
do  as  the  right  hand.  Now  the  left  hand  is  not  merely  for  ac- 
companiment but  also  stands  out  alone,  and  the  performer  must 
have  as  good  left  hand  technique  as  right  hand. 

Peter  Tschaikowsky  (1840-1893)  is  another  great  mod- 
ern Russian  composer.  In  his  "Romance,  op. 5"  he  has  a plaintive 
melody,  in  the  left  hand  with  the  right  hand  as  a counter-melody. 
His  music  is  very  nationalistic  and  has  many  odd  resolutions  of 
chords,  many  modulations  in  the  left  hand.  The  left  hand  has  a 
very  beautiful  accompaniment,  not  very  difficult  but  very  impor- 
tant. 


Romance,  op. 5 


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His  "Humoresque11,  op.  10,  Ho. 2 is  very  beautiful,  due  to  the 
left  hand.  The  melody  is  carried  in  the  left  hand  in  the  first 
nine  measures,  and  then  the  left  hand  has  a peculiar  technique, 
and  very  peculiar  chord  formations  and  resolutions  which  suggest 
sadness. 


Modern  composers  even  play  tricks  with  rhythm,  as  illustrated 
by  op.  19.  The  notation  time  is,  of  course,  absurd,  since  the 
measure  contains  only  two  quarter  beats.  This  is  by  no  means 
an  engraver’s  fault,  or  an  oversight  of  the  proof  reader.  It 
must  be  taken  as  illustrating  Tschaikowsky * s sarcasm  upon  simi- 
lar occasions,  almost  as  absurd,  and  occuring  in  Schumman’ s works; 
hence,  the  heading  of  the  variation,  "alia  Schumann. " Hote  the 
fullness  of  bass  chords,  the  same  rhythm  in  the  bass  as  in  the 
right  hand. 

Sergei  Rachmaninoff  (1873  - ) is  another  Russian 

composer  who  has  developed  left  hand  technique  to  a very  great 
extent.  His  "Prelude  in  C#  minor"  is  well  known  because  of  the 


* * 


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richness  and  fullness  of  the  bass.  The  melody  is  parallel  in 
both  hands.  He  has  wonderful  rich  octaves  in  both  hands,  also 
triplets  which  are  played  with  both  hands.  His  "Serenade"  op. 2, 
Ho. 5,  has  a sad  opressed  melody  in  the  left  hand  and  then  some 
very  "Russianistic"  chord  progressions  and  resolutions.  In  the 
Tempo  di  Valse,  the  left  hand  gives  the  effect  of  a harp. 


song.  In  his  "Wedding  day  at  Troldhangen"  he  uses  syncopation 
in  the  left  hand,  complex  rhythm  in  the  left  hand.  He  does  not 
use  such  a fixed  bass  as  his  contemporaries.  He  sometimes  writes 
his  left  hand  in  the  treble  clef. 

Christian  Sinding,  Norway  (1856  - ) has  also  written 

much  Scandinavian  Music.  He  has  done  a great  deal  towards  devel- 
oping the  left  hand.  His  "Rustle  of  Spring"  has  the  melody, 
sometimes  written  on  the  treble  clef,  in  the  left  hand,  while  the 
right  hand  accompanies.  He  also  uses  groups  of  five  sixteenth 
notes  in  the  left  hand  against  a quarter  note  in  the  right  hand. 

He  uses  arpeggios,  scale  passage,  chronatic  passages.  The  left 
hand  is  the  principle  one  in  this  composition,  instead  of  the  right 


( 


- 14  - 


Jean  Sibelius,  Finland  (1865  - ) has  written  a very 

modern  composition,  "Romance  in  D^".  it  begins  with  a staccato 
accompaniment  in  the  right  hand  for  two  measures,  then  the  melody 
very  marcato,  in  the  left  hand.  He  uses  parallel  passages,  syn- 
copation in  the  left  hand.  Then,  beginning  at  measure  33,  he  has 
the  melody  in  the  left  hand  with  a counter-melody  in  the  right. 
Towards  the  end  of  the  composition  beginning  measure  55,  he  has 
a rich  deep  octave  in  the  bass  as  an  organ  point,  and  the  melody 
in  both  bass  and  right  hand. 


Romance  in  Dd,  op.  24,  Ho. 9 Measure  3 


* 


> 


15 


Richard  Strauss  - Germany,  (1864  - ) is  the  most 

spectacular  genius  of  the  present  day.  He  has  carried  descrip-? 
tive  music,  "both  in  the  instrumental  and  operatic  school,  to  the 
limit  of  sanity.  There  is  seemingly  nothing  impossible  for 
Strauss  to  attempt  in  music.  In  his  great  tone  poems  he  not  on- 
ly reflects  moods  and  poetic  thoughts,  but  is  capable  of  por- 
traying every  event,  thought  or  feeling,  in  tonal  coloring.  If 
the  subject  is  repulsive  or  hideous  os  is  his  music;  if  it  be 
religious,  poetic  or  sublime,  this  is  reflected  in  his  work. 


harmony  is  responsible  for  many  of  the  newer  and  most  beautiful 
chords  in  modern  technique,  for  most  of  these  found  their  way 
first  by  means  of  "passing  chords." 


are  brought  too  close  together  for  the  principles  of  Polytony  to 
be  admitted. 


. It# 


- 16  - 


passage  is  also  sequental;  or  the  "bass  may  be  accounted  for,  as 
an  appearance  of  the  ninth  together  with  the  root,  a frequent 
practice  with  modern  composers. 

Claude  Debussy  (1862  - 1913)  is  a modern  Drench  com- 
poser, an  impressionist  in  tone.  He  has  returned  to  the  old 
Greek  science  of  the  tonal  relationships  of  tile  tetrachord.  In 
his  ’’Reverie11  we  have  a combination  of  modern  melody,  rhythm  and 
selection  of  over  tones. 


’’Reverie” 


The  Impressionist  use  of  a ”tonalnchord  will  be  seen  in  the  follow- 


% « 


♦ 

i 


•k  * 


*.r 


- 17  - 

Some  curious  results  of  the  "reflection11  idea  may  be  seen  in  the 
following  scales  and  chords  in  the  Debussy  extract,  where  the 
composer  "minors"  the  sharps  in  the  right  hand  by  the  flats  in 
the  left,  of  course  this  effect  is  optical  and  not  aural. 


four  rhythm,  called  "Priere."  op.  7,  Ho.  3 
"Priere"  op. 7,  Ho. 3 


Edward  MacDowell  (1861  - 1908)  is  the  greatest  Ameri- 


can composer.  Mr.  MacDowell  is  a tone-poet,  a Romanticist.  In 
his  "At  an  old  trysting  place"  from  "Woodland  Sketches,"  he  has 
made  use  of  consecutive  fifths  in  the  bass. 


"At  and  old  trysting  place" 


HP— r/--1 — r-fV 

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y2 — — *■ — i 

a -a- 

3^? 

s-i  ft 

“ ■ - ■ 

~F“ ~ — 

^ 

‘ 1 ~f  - ~t  * 

4---  r 

J o 

4 


* 

« 


* 


♦ * 

I * - 

\ * * 


% 

♦ 


• % 


.5 


18 


In  his  "Polonaise"  he  has  the  melody  played  with  both  hands.  He 
introduces  chronatic  passages  in  left  hand  trills.  He  does  not 
leave  his  left  hand  stationary,  hut  crosses  hand  in  many  of  his 
compositions,  as  illustrated  by  following  example: 


— _ 

" 1 ■ "T  r— 1»  ■ i ' 

_ 

/*  A i A f 

— U « r ~t~’  f t 

In  his  "Scotch  Poem"  his  basses  give  the  effect  of  a he.rp.  In 
"At  Sunset"  op. 28,  Ho. 5 he  has  the  left  hand  carry  the  melody 
while  the  right  hand  has  a trill. 

"At  Sunset" 


: * 

. * i : 

- 4 k 1 


9 


• •> 

* 


Is,  ft*.  • 

'*  *1  f • • 


ir 


*» 


*•  ** 


« 


* 


f 

♦ 


10 


We  find  the  classicists  adhered  strictly  to  form, 
while  the  Romanticists  had  more  freedom  of  form,  more  varied 
rhythms.  The  modern  composers  have  broken  almost  entirely  away 
from  form,  and  have  sought  to  express  their  moods,  thoughts, 
and  impressions.  They  have  written  mostly  programme  music  for 
the  pianoforte,  and  have  given  the  left  hand  as  much  freedom  as 
the  right.  It  is  allowed  to  play  at  any  register  from  the  high' 
est  to  the  lowest  tones.  It  crosses  with  the  right  and  plays 
the  melody;  it  is  given  the  melody  very  often,  and  has  been  de- 
veloped and  almost  perfected.  It  is  no  longer  for  accompani- 
ment, but  for  melody,  technique,  and  harmony. 


